Review – Trifecta – The New Normal – by John Wenlock-Smith

‘The New Normal’ is the sophomore album from Trifecta,the band of Nick Beggs (Bass and Chapman Stick and Vocals), Adam Holzman (Keyboards and Synths) and Craig Blundell (Drums and Percussion). With Beggs and Holzman from Steven Wilson’s band and Blundell from Steve Hackett’s band, this trio craft mainly Jazz/Fusion pieces although this time around there are several vocal track on which Beggs sings, he actually has a really melodious voice.

The majority of these tracks are under three minutes in length but, even so, within those short pieces there is a definite invention and ingenuity within the playing to make something different to what could be expected. Chinese Fire Drill being a good example of this, out of a gentle keyboard melody comes a fiery guitar passage which later returns to the gentle melody earlier heard. Ouch! My OCD is another weird track, with dialogue between Beggs and Blundell on sibling rivalry that is a carry over from the previous track. There’s good use of a didgeridoo that plays a central part to the track too, a very ingenious track this one, another sturdy drum pattern is also important and Impressive here. Other tracks have a funky backbeat and Hammond organ blazing away to fine effect with Beggs’ bass or stick usually propelling the pace of the music from the front. Daddy Long Legs is a really interesting track with a rock solid bass line and some synth noodling from Holzman, all bound in the precision of Blundell’s drums. It’s a most gripping track with a great sound tand classy rhythm.

Also of note is the off kilter, acid jazz feeling, Just feel It Karen. Again, a great bass line from Beggs helps drive this track along and Holzman’s synths dive all over the rhythm section’s propulsive thrust. It’s another ingenious track which shows the formidable talents of Beggs, Holzman and Blundell off to a tee. The interplay behind the trio is highly impressive and extremely musically tight and satisfying, how they manage come up with these odd pieces is a question only they can answer but at least they are prepared to share these fruits of their labour with us, which is all the more rewarding. Once Around The Sun With You is possibly the most normal song of the album as it has a melody and a theme of sorts, whereas Ornamental Lettuce is just plain weird and sounds like something Frank Zappa could have conceived on an off day! This brief, yet very busy, track has a really powerful drum part that makes it stand out.

Canary In A Five and Dime is a song about ex US president Donald Trump and it is not a flattering song for him by any means. Stroboscopic Fennel is another brief but entertaining track with an Interesting tale to tell. Stupid Pop Song brings to mind Beggs’ Kajagoogoo years in style and it’s actually rather good and memorable. Wacky Tobaccy is a more jazzy track with great bass or stick playing throughout. Wake Up Call is another jazzy tune with an almost call and response feel to it and this works well here.

‘The New Normal’ is rather short and yet, within its eighteen tracks is some really excellent and unusual music. Okey, some tracks work better than others but, overall, I would propose that it is definitely much more hit than miss. It’s an interesting release and, whilst I understand it may not be to everyone’s taste, I enjoyed it immensely.

Released 12th April, 2024.

Order from the link here:

Trifecta – The New Normal (lnk.to)

Trifecta announce details on ‘The New Normal’, New Album Released 12th April 2024 on Kscope

The collaboration of singer songwriter Nick Beggs, keyboardist extraordinaire Adam Holzman and internationally renowned drummer Craig Blundell combine Jazz Fusion and Progressive Rock with a dash of English wit.

Pre-orders are available here:

The New Normal (lnk.to)

Trifecta have announced their new album – their second musical observation in the form of The New Normal on 12 April on Kscope.

It is often said that the greatest musical groups are the ones with the right mixture of ideas, talent and chemistry. These are things Trifecta have in abundance. It is, of course, no secret that the three members – keyboardist Adam Holzman, bassist/Chapman Stick mastermind Nick Beggs and drummer Craig Blundell – have spent their most recent years touring some of the world’s biggest stages as part of many bands including with Steven Wilson. So when they decide to form a largely instrumental offshoot as a trio, eventually writing and releasing 2021’s Fragments debut, they were already off to a head start, with a tangible sense of creative familiarity that had been stunning audiences in every corner of the globe. 

For listeners seeking to escape the confines of the normal world, ‘The New Normal’ will enable a window into vistas in a multitude of sonics and in concept. By combining elements of Progressive Rock, Jazz Fusion all with a dash of typical English wit the band bring the listener into a world where sound is malleable, time is a mere concept and vegetables have otherworldly properties like the ‘Stroboscopic Fennel’. 

This new 19 track, epic sees the band building upon the innovative ambition and genre-hopping skulduggery they so fearlessly introduced themselves to the world with on ‘Fragments’. The New Normal could easily have carried on in that same direction and comfortably delighted fans of all three musicians, as well as their associated projects. But if there’s anything we know about Holzman, Beggs and Blundell, it’s that they are bursting with ideas of every kind. Which explains why this album is guided by an uncontainable brilliance and bravado that packs in so many twists and turns, practically laughing at any notion of genre or boundary. The mid-70s fusion of Beck And Call cascades into the jazz noir brilliance of Dot Are You Wooing without a flicker of hesitation, venturing far beyond the introductory nuances into something truly dazzling and unexpected, telling another chapter of a rapidly evolving story. It’s almost as if this band take delight in ignoring the stylistic stop signs that provoke fear in the less adventurous… 

“I think we all felt it was important to not fit too heavily into one idiom,” admits Beggs. “There was a lot we wanted to say and we couldn’t really compact it all into one predetermined sound. I’m especially proud of Dot Are You Wooing and Chinese Fire Drill. We wanted to take listeners on a journey they won’t forget. The roots of every song is representative of one person in this band. Adam would come up with something like Wacky Tobaccy, mapping out the sonics, and then we would expand on it together, changing things up wherever it suited the music. Craig came up with the song Ornamental Lettuce and then Adam and I added our parts on top. There’s plenty more to come!”

Joining the trio of masterful musos is Alex Lifeson (Envy of None / Rush) for additional guitar on ‘Once Around The Sun With You’ and Theo Travis (Steven Wilson) on saxophone for insectoid grooves of ‘Daddy Long Legs’. Alongside John Paul Jones’ very chapman stick from 1979 that was sent to Nick and used to record ‘The New Normal’. 

 The album was recorded in the Bermuda Triangle of normality that is Leighton Buzzard, Bedford and New York between 2019 and 2023, engineered by the band and mastered by Andy VanDette (Beastie Boys / Rush / Whitney Houston), adorned with artwork that was inspired by an original idea from Hajo Muller.

Available on Limited edition white 2 LP / CD / 2 LP and digitally – with pre-orders available here:

The New Normal (lnk.to)

1. Beck And Call [02:35] 

2. Dot Are You Wooing? [00:53] 

3. Stroboscopic Fennel [02:25] 

4. Just Feel It Karen [03:53] 

5. Sibling Rivalry [04:01] 

6. Ornamental Lettuce [02:15] 

7. Daddy Long Legs [04:07] 

8. What Are You Doing? [00:53] 

9. Stupid Pop Song [03:32] 

10. Crime Spree [03:07]

    11. Bach Stabber [02:07] 

12. Kleptocrat [02:35] 

13. Once Around The Sun With You [03:50]

 14. Chinese Fire Drill [03:29] 

15. Ouch! My OCD [01:17] 

16. Wake Up Call [03:46] 

17. Wacky Tobaccy [03:28] 

18. Canary In A Five And Dime [03:55] 

19. On The Spectrum [03:23

Band picture by Hajo Mueller.

Review – Hekz – Terra Nova

HeKz is a progressive rock band that stands at the crossroads of heavy metal legends and the luminaries of the prog rock genre.

Their journey began with their debut album, ‘Tabula Rasa’, which laid a strong foundation for their distinctive sound. Building on this, their sophomore effort, ‘Caerus’, saw the band ambitiously fusing the contrasting elements of their musical identity. This effort culminated in their third album, ‘Invicta’, where HeKz masterfully blended their influences to create a more homogenised sound that showcased the best of their past while venturing into new and exciting territory.

HeKz’s fourth album, ‘Terra Nova’, promises to be their most ambitious project yet. The band’s lineup consists of lead singer and bassist Matt Young, guitar virtuoso Mark Bogert (known for his work with Knight Area and Magoria), the enchanting Irina Markevich on violin, the rhythmic powerhouse Moyano el Buffalo (formerly of 5th Avenue Hamburg) on drums, and a special guest appearance by keyboard maestro Adam Holzman (noted for collaborations with Miles Davis and Steven Wilson).

‘Terra Nova’ is a concept piece that weaves a tale of ambition, duality, and the relentless fight to conquer the darkest parts of one’s personality to become the person you were born to be.

So that’s the background out of the way, now let’s see what this new album is actually like…

Well, everything starts off with an almighty bang as album opener, and title track, Terra Nova hoves into view like a wild stallion on the rampage. Adrenaline fuelled musical mayhem with glorious vocal melodies and a riff hewn out of granite, if the rest of the album is anything like this then we are in for an incredible treat! It’s like the best hard rock and metal from the late 70’s and early 80’s blended with some progressive nuances to deliver something jet propelled and gob smacking. Matt’s super-funky bass and Moyano’s thunderous drums are the foundation for Mark’s fluid guitar and the subtle interjections of Irina’s violin are really clever. That focused energy flows straight into the monumental Sabotage which takes on a more glam metal feel with its truncated riffs and drum beat. Adam delivers some stellar Hammond organ-esque keys and Matt’s gloriously bombastic vocal is reminiscent of Justin Hawkins at his best. There’s an inctricate instrumental section in the middle which is pure prog and then Irina’s soaring violin takes us on a completely different tack, if only for a brief second before the afterburners are lit and off we go again with a blazing guitar solo from Mark, bloody hell, can I please catch my breath guys! A passionate guitar opens Horizons before things calm down a little (not much though!) and we are treated to a superb hard rock composition that really reminds me of that era of hair metal and glam rock, think Poison, Whitesnake, Bon Jovi and the like, only done with more panache and vivacity! Irina’s violin makes another welcome appearance but this song is just pure rock and roll and will put a huge grin on your face, check out Mark’s ever so 80’s solo and you will know exactly what I mean, it’s all just brilliantly over the top!

Matt’s funky, dirty bass opens the rocking rollercoaster ride that is Mayday, a thunderous thrill ride of perfect progressive metal where Mark’s guitar has that low down and dirt edge to it and Moyano’s drums have gone all primeval. Add in some funky keys from Adam and another shot of Irina’s amazing violin and you get something unique and totally captivating and entertaining. Welcome to the most addictive music you will hear this year, I just can’t get enough! Finally things do calm down with the wondrous haunting ballad So Far Gone, you can tell this is an amazing track as I immediately pressed repeat after the first time I heard it. Adam’s graceful piano combines with Irina’s ethereal violin to deliver music that will touch your soul and Matt gives a subdued but ever so passionate vocal performance, especially on the ever so impressive chorus. Mark enters the fray with an elegant guitar, the drums are perfectly judged so as not to intrude and Adam’s keyboard solo is bewitching, it’s all just magical!

The engrossing ten minutes of The Tower are the first time that we see the progressive being more than the rock on this amazing album. Almost musical theatre in places, especially Matt’s ardent, eloquent vocal, this song is a slow burning masterpiece that pulls you in before unleashing its inner darkness, check out that dark and dirty riff! A mesmerisingly convoluted section follows where everything seems to have gone completely mad, like you’re suffering from musical psychosis. It’s like something from Dream Theater’s heaviest album ‘Train of Thought’ and I bloody love it. Like a dystopian horror story, it ebbs and flows between the darkness and the light and you can barely keep up with the labyrinthine plot, this is music that tells a story, okay, in this case a very disturbing one but it is utterly magnificent, bombastic and completely over the top! A song to calm the nerves after that sinister thrill ride, Lifeline opens with subdued feel engendered by Matt’s vocal before it opens up into something more passionate and dramatic, this song could have come from an early Queen album with Matt’s towering vocals and a soaring guitar solo that Brian May would be very proud of. Add in Irina’s beseeching violin and it’s a very compelling way to close out Disc One of the album.

“Disc One?” I hear you shout! Oh yes, didn’t I say? This album is so long it is actually a double album!

Disc Two opens with Too far Gone and we are back to thunderous hard rock as the amazing intro reminds us. Mark then fires a superb riff at the skies and Irina’s violin adds to the majesty. Matt’s vocal has a more subdued feel at first and Moyano keeps the drums in support. Pre ‘Slippery When Wet’ Bon Jovi is the vibe I’m getting here, before they went all hair metal and, controversial opinion, wrote better songs. Cue the high pitched vocals, flowing guitar solo and dynamic keyboards, the blue touch paper is lit and we are definitely off! Progressive metal for the primeval, I Am The Thrall hits you right in the solar plexus like a two ton heavy thing. A leviathan of the genre with it’s brooding atmosphere where the tension just build and builds, Irina’s violin is used to perfection. Matt’s harder edged vocal and Mark’s monstrous guitar add the drama and the intrigue as this heavier than lead song continues its inexorable progress. You can feel the guitar and the drums as they pummel you into submission and Adam’s ever so slightly evil keyboard solo adds the requisite maniacal grin, it’s ever so joyously wicked like a musical guilty pleasure and I love it!

We now come to the album’s properly epic epic! The Silent Man takes all that was great about early Dream Theater and Haken, adds in a dash of some serious Symphony X style progressive metal and then takes the band’s own inimitable style to create something quite remarkable and iconic. There’s something just right about a twenty-four minute song, especially when it shows the middle finger to mainstream music like this one, strap in and enjoy the ride because you are going to love it. Matt’s marvellously grandiose vocals are a joy to behold and Mark’s guitar is as ostentatious as you’d want on a track of this calibre. You think it can’t get any better than Adam’s meticulous, euphuistic keyboard solo and then Mark comes along and delivers a guitar solo that is utterly rhapsodic, add in Matt and Moyano, who are proving themselves to be a rhythm section to die for, and things are near perfect. Don’t take my word for it, you have got to hear this song as it is as brilliantly overblown and dramatic as they come. The album ends on a high and hopeful note with the gorgeously wistful Terra Nova II. Irina’s violin has been making superb guest appearances throughout the album so far but, finally, she gets to really shine on this beautiful, uplifting and ultimately optimistic piece of music. Imbuing a sense of beatific calm, this elegant track leaves traces of wonder as it passes, Matt’s vocal is tender and poignant and both Adam and Mark deliver their most evocative solos yet. This all combines to deliver the most emotive piece on the whole album and one that leaves you in a much better place than when you started.

“You know who you really are…”

Well, what can I say, I knew that a new Hekz album would be something pretty good but I had no idea it would be this special. With ‘Terra Nova’, Hekz have given us the ultimate involving musical thrill ride and I just don’t want to get off. To tell the truth, it’s the best progressive-metal album I’ve heard in many a year and, if this is the future of the genre, I’m completely sold!

Released 3rd November, 2023.

Pre-order from the band here:

Terra Nova | HeKz 2/3 (hekztheband.com)

FRAGMENTS, THE NEW ALBUM FROM TRIFECTA WILL BE RELEASED BY KSCOPE ON 20TH AUGUST

FIRST TRACK & VIDEO PREMIERED “PAVLOV’S DOG KILLED SCHRODINGER’S CAT”

Trifecta, a new addition to the Kscope roster, features 3 of the contemporary music scene’s most lauded and revered musicians – bassist and songwriter Nick Beggs, keyboardist extraordinaire Adam Holzman and completing the line-up, Craig Blundell – one of the world’s most celebrated drummers.  

Having performed together as part of Steven Wilson’s band, the three would jam together after soundchecks, forming what they referred to as “jazz club” and from these sessions the fledgling ideas for Fragments were born, Nick Beggs comments “after the last tour with Steven finished, we had a handful of tracks ready to work on and as we moved through our various separate projects we agreed to work on Trifecta.”

The record primarily leans toward a fusion of jazz rock, imaginatively described by Beggs as “Fission! It’s like Fusion but less efficient and more dangerous ..with fall out.” andbeing mainly instrumental with the exception of one track, the wonderfully titled and first single “Pavlov’s Dog Killed Schrodinger’s Cat”. The lyrics of which, Beggs states “are written from the perspective of a layman trying to understand quantum mechanics…and failing”.  The track also features drum programming from Russell Holzman. 

The brilliantly animated video was devised and created by Beggs himself – he comments “The film clip is a new take on the lyric video concept I guess? I made it one afternoon in my home studio using my i-phone and a writing pad!.”

Each band member completed the recording and engineering of their own contributions in their various home studios which helped in bringing their individual production ideas to each track. Adam Holzman mixed the record at his New York home studio and the mastering was handled by Andy VanDette (Rush, David Bowie, Deep Purple, Porcupine Tree, Beastie Boys) in New York.

The title for the debut came about as Nick Beggs explains “We discussed early on, the idea of each piece having a Fragment number and track title, for example – ‘Fragment 10– Pavlov’s Dog Killed Schrodinger’s Cat’.  As all the compositions were written as jams or in our home studios this idea seemed even more prescient. So, we titled the album ‘Fragments’”.

Fragments will be released on 20th August via Kscope on CD, black vinyl LP, ltd edition neon orange vinyl LP (exclusive to www.kscopemusic.com/store ) and digitally. Pre-orders are available now HERE(https://TrifectaKscope.lnk.to/Fragments)

1. Clean Up On Aisle Five [03:07] 

2. Check Engine Light [02:55] 

3. Proto Molecule [02:20] 

4. Auntie [02:57] 

5. Venn Diagram [02:42] 

6. The Enigma Of Mr. Fripp [02:44] 

7. Sally Doo-Dally [02:54] 

8. Have You Seen What The Neighbours Are Doing? [02:58] 

9. The Mute Gospel [03:16] 

10. Pavlov`s Dog Killed Schrodinger`s Cat [04:12] 

11. Voyage Of Discovery [03:02] 

12. Nightmare In Shining Armor [02:00] 

13. Dry Martini [03:13] 

14. Lie 2 Me And Take My Money [03:13] 

15. Hold It Like That[03:28]

Can’t wait until 20th August? Curious to know more now?

Fans can check out an album teaser HERE(https://youtu.be/IU0ojwQ2YtU)

TRIFECTA, THE NEW BAND FROM NICK BEGGS, ADAM HOLZMAN & CRAIG BLUNDELL SIGN TO KSCOPE

We are delighted to be able to announce that Trifecta have joined the Kscope family.

Trifecta features three of the contemporary music scene’s most lauded and revered musicians – bassist and songwriter Nick Beggs, keyboardist extraordinaire Adam Holzman and completing the line-up, Craig Blundell – one of the world’s most celebrated drummers.

Having performed together as part of Steven Wilson’s band, the three would jam together after soundchecks, forming what they referred to as “jazz club” and from these sessions the fledgling ideas for Trifecta were nurtured, Nick Beggs comments “so after the last tour with Steven finished, we had a handful of tracks ready to work on and as we moved through our various separate projects we agreed to work on Trifecta.” Asked what fans of the musicians can expect from Trifectahe states “Fission! It’s like Fusion but less efficient and more dangerous.”

Kscope will be releasing the band’s debut album in Summer 2021, look out for more details coming soon

The band have new social media – for updates & news follow them here:

https://www.instagram.com/trifectahq/

https://www.facebook.com/Trifecta-Blundell-Holzman-Beggs-104063678455805

www.kscopemusic.com/artist/trifecta

Review – no-man – Love You To Bits

It’s not often that I am gobsmacked by a new release but the new album from no-man, the Steven Wilson and Tim Bowness project, left me quite a bit dumb-founded on first listen.

Like some strange symbiosis of 80’s pop, 90’s dance music and noughties prog, Love You To Bits wasn’t what I was expecting from prog’s standard bearer – Wilson – and the master of cool – Bowness…

The new album, the first studio release in eleven years consists of two connected five-part pieces (Love You To Bits and Love You To Pieces), was twenty-five years in the making and lyrically chronicles the aftermath of a relationship from different perspectives.

Adam Holzman, David Kollar, Ash Soan, Pete Morgan and the Dave Desmond Brass Quintet guest. Produced by no-man, the album was mixed by Bruno Ellingham and mastered by Matt Colton.

Steven Wilson has been very successful at re-inventing progressive rock over recent years and, with his long-term partner in crime Mr Bowness, it appears that they have decided to re-invent what would be considered ‘pop’ music to most ears.

And, to my utmost astonishment, it actually bloody works (I make no apologies for the expletive, I was that surprised!). Using the velvety, comforting tones of Tim’s excellent vocals over an EDM/electronica inspired back-beat is just genius. There’s a vibrancy that is absent from a lot of today’s music, be it pop, progressive or whatever, it just leaves a huge grin on my face.

This inventive and entertaining album never fails to surprise at every turn with elements of pulsating fusion and a wistful and poignant ambience interspersed with crashing guitars and edgy drumbeats.

I have no idea what Steven and Tim were on when they came up with the idea for this pulsating masterpiece but, by golly, can they please give some to the rest of what is becoming a very moribund music scene.

Love You To Bits is a utterly fascinating and overwhelmingly entertaining musical adventure with superb dynamism and a diversity rarely seen in the strictures of conventional music.

Just do yourselves a favour and go and buy it, you will not regret it!

Released 22nd November 2019.

Pre-order from the link below:

https://no-man.lnk.to/LoveYouToBitsSo

Review – Moonparticle – Hurricane Esmerelda – by James R Turner

Already well known as a talented guitarist, Niko Tsonev profile was raised by stepping up and becoming the touring guitarist and member of John Young’s Lifesigns project, and whilst his guitar was missing from their debut album he toured with them from 2013 – 2016 becoming an integral part of the bands sound, and appearing on their successfully crowd funded live CD/DVD package ‘Under the Bridge’, and guests on their second release ‘Cardington’.

Stepping away from the Lifesigns, Niko has thrown himself into his latest project Moonparticle, and as a guitarist and performer of his calibre he could pretty much pick and choose who he works with, this means the band is full of talent like Craig Blundell on drums, Theo Travis on flute, Adam Holtzman on keys and Grog Lisee adding the female touch with her superb vocals.

The pedigree in this band suggests that what you’re about to listen to is going to be something special, and the huge bandwidth of genres that they span means that musically you’re going to be in for a treat.

In lesser musicians hands this eclectic mix of genres and styles would fall apart, and be a bit over complicated and cluttered, luckily we are listening to masters of their game, and you can tell they have enjoyed working on this album, as the musical ideas crackle with the sort of electricity that comes from bands just clicking.

Niko is definitely one of the finest guitarist plying his trade currently, and it’s no surprise that on tracks like Hurricane Esmerelda or Helium 1 & Helium II his guitar is at the fore, and it’s amazing how he can move from rocking out to pulling some fine melodic sounds out of the guitar.

Again, anyone who saw Lifesigns would know how important he was to the live sound and the stage presence he had.

You then get tracks like the sublime Strength of a Thousand Year Rose, an absolute epic rock ballad for want of a better word, where Grog’s amazing vocals come to the fore, and the solos that Niko pulls off throughout are the most melodically restrained, you can tell he is holding back and the restrain and power shines through.

There are quirky song titles that draw you in, and I do wonder in calling one track Reverend Mum whether one of the band is a fan of Phil Rickman’s Merrily Watkins books, throughout this track there is some lovely fluid guitar work, Blundells percussive work is on point as ever, and the way the guitar, percussion and subtle keyboard sounds work here are fantastic, ebbing flowing and building to a wonderfully euphoric finale.

This is also the second prog(ish) record to feature a track called Winter Mountain, and it’s about as far removed from the Mostly Autumn track as is possible to get, this one brimming with power and warmth.

Adam Holtzman and Theo Travis are sublime throughout, which is to be expected, and what is wonderful with this album is that whilst the guitar sound is at the fore, there is no hogging of the limelight, each artist gets room to breathe and the way they meld their sound is a joy to behold, all the while pulled together by the rock steady beat of Craig Blundell (who has been doing a sterling job with Lonely Robot recently) the haunting guitar and keys sound on the closer Leon’s Experiment, with some great crunchy riffs and powerful drumbeat, pulls this mightily accomplished album to a close.

Blending sublime instrumental work with some superb songs, and a cracking vocalist, Moonparticle have surpassed themselves and created what I reckon is the debut album of the year. A wonderful blend of genre hopping musical light and shade, heavy when it needs to be, chock full of tunes and serious musical talents at work, with vocals to die for. This is how to do a debut album and it shows to anyone who hasn’t realised yet, just how mighty a talent Niko Tsonev is.

Released 20th January 2018

Order ‘Hurricane Esmerelda’ from bandcamp on CD, digital and vinyl

 

Moonparticle (The Project of ex-Lifesigns guitarist Niko Tsonev) Announce Debut Album Hurricane Esmerelda

“Hurricane Esmeralda is a hard hitting album that grows on you with each listen. Bursting with the virtusosity of Prog and the sophistication of Jazz, it above all impresses with its beautifully crafted songs that take you places…”

Moonparticle is the music collective put together in 2017 by virtuoso guitarist/producer Niko Tsonev (ex-Steven Wilson, Lifesigns) featuring an extraordinary group of musicians: Pianist Adam Holzman (Miles Davis, Robben Ford), Saxophonist Theo Travis (Robert Fripp, David Gilmour), Drummer Craig Blundell (Frost*, Steven Wilson), Violinist Samy Bishai (Natacha Atlas, Digitonal) and Vocalist Grog Lisee (Die So Fluid, Ozzy Osbourne).

Recorded between January and July 2017, Moonparticle’s debut was funded by a
successful PledgeMusic campaign. The recording took place in various locations – each musician adding their contribution from their own recording studio (London, Paris, New York and Los Angeles) via online file sharing. Produced and mixed by Niko Tsonev, the album was mastered by Jon Astley (Paul McCartney, Peter Gabriel, Porcupine Tree). The artwork and graphic design were conceived by digital artist Be Wilde.

The title ‘Hurricane Esmeralda’ was inspired by themes of inner awareness and growth, and the process of pure creation. The virtuoso level of musicianship displayed by the aforementioned musicians throughout the 40 minutes of music, complements the primary focus of the album – inspired songwriting and brave musical performances.

If you didn’t get involved with the Pledge Music campaign then you can pre-order the album ahead of a January 2018 release here:

 

BE PROG, MY FRIEND! 2016 part 2 (t-shirt wars) – by Kevin Thompson

KF_Amorphis_PosterA1.eps

Day two arose to bright sunshine and we ate an ample breakfast in the hotel before a morning in the wonderful Museum of Art, with so many treasures to see. But enough of that, I am not here to talk about the wonderful historic sites in Barcelona, the colonnades  lining the street to the museum, waterfalls and twin towers replicating the style of San Marco Campanile in Venice. Nor am I about to tell you of the excellent Spanish guitarist delighting a crowd in front of the museum, on his ‘silent guitar’. No, we shall leap forward to our much needed early afternoon siesta from which we woke abruptly, making haste to reach  the Pobel Espanyol and the beckoning sounds of day 2, at Be Prog My Friend.

Unfortunately the second day started an hour earlier and we joined the queue of latecomers as we fed into the square just in time to catch the last three songs from the ravishing Anneke Van Giersbergen and The Gentle Storm. This lady’s voice as those who have heard her will know, is a tour de force and her powerful vocals tore through the tracks with gusto engaging with the slowly swelling crowd in some grand Prog Metal. Her energy was infectious and warmed the audience up nicely as did the mid afternoon sun and we watched from floor level partaking of much needed liquid refreshment.

Anneke

Buoyant from the night before and with a rousing first act to start the day we were feeling rather pleasant and whilst we waited for the next band we wandered round and checked out the t-shirts. No contest as I have to say the lovely Sarah Ewing’s artwork conquered all comers. I thought I had done well in the t-shirt battle yesterday but Big Big Train’s ‘Grimspound’ drew so many admiring glances it felt like being on a catwalk.

Grimspound

We briefly met the gang from yesterday for a chat, but they wanted to go down the front and we decided we would hang back and find a seat somewhere with a decent view, if we were lucky.

And so to the second band, whilst I had only heard a couple of tracks from Between the Buried and Me which sounded promising. They appeared to be attracting favourable attention from the media recently and I was looking forward to being impressed as they had travelled over from the US of A. I’m still waiting I’m afraid. The sound wasn’t brilliant, louder than clearer and Konnie and I agreed it was like listening to an extended promo reel, with clips from songs cobbled together.

Konnie said she was unable to decipher when one track ended and another began as it sounded so disjointed. Despite an enthusiastic following nearer the stage and you may read differently elsewhere, we didn’t seem to be the only ones and for me the guttural vocals only added to my disappointment, sorry guys I’m sure there are many disagree with us including those at the front, but here’s a photo.

Between

I was a child of the 70’s it was the blossoming of my teenage musical years and the awakening of my eyes and ears to Prog. Now I’m sure many will agree, some records are timeless and transgress all era’s without ageing badly and some you raved about then, you find hard to reconcile why in the present day. I would not have bought the next band’s albums then and wouldn’t now as I will happily tell you, ‘it’s not my sort of thing’. So on an increasingly hot and sunny, Spanish afternoon surrounded by a sizeable crowd of MAGMA t-shirts, what happened?

Like a rabbit in headlights or with myxomatosis, I stood rooted to the spot as MAGMA took the stage. They seemed quite the perfectionists and had taken some time to set up which may have explained why they couldn’t play as long as they wished, but as they strode on to the stage and the music and chanting of the first song began I was transported to Summerisle. I was transfixed as if drugged and the tune grew like some creeping, Dario Argento film soundtrack as it swelled most disturbingly. I forced myself to look away from the stage and those around me seemed entranced and swayed to the the throbbing rhythms. I’m glad there was still daylight to bring me comfort.

Magma

As the music continued the young man in his twenties standing in front of us took up the song. A cherub faced middle aged man, with rosy cheeks and glasses, clad in walking gear with a backpack, wandered through the ranks of the audience singing the lyrics in a deep resonating tone, an angelic smile spread across his face, arms wide in subjugation. Had I stepped into a pagan festival? Konnie stood on my left enraptured and I glanced to my right and the terrace above. A boy of no more than twelve stood in front of his father, chanting in the knowledge of every word, his small hands air drumming without missing a beat.

And then they finished , disgruntled they could not extend their set, with a shorter tune (over 10 minutes) and the veil lifted from everyone’s eyes. Konnie talked enthusiastically and I tried to figure out what had just happened. Would I buy the music, no. Would I travel and pay to watch them, I don’t think so. Would I be able to resist the lure of their unique performance if they were on a festival bill again, probably not and they have a new disciple in Konnie. Strangely watchable, if you have never seen them and happen upon them, watch, you may be enchanted but rest in the knowing you don’t have to weave flowers in your hair and there are no human sacrifices required during the performance.

Opeth 1

It’s worth mentioning at this stage that the transitions between bands was not as smooth as the previous day. Whether the crew were different or more likely the bands on the second day were more demanding, either way the wheels were not as well oiled. This gave us more time for food and liquid sustenance and to soak up the atmosphere. A couple of large tattooed Scandinavian  bikers asked we take their photos and they kindly reciprocated snapping the ‘Grimspound’ shots of Konnie and I. They also gave some of their stone step space so we could sit for a while which was most welcome until we found seating a little further back with a better view.

Opeth 2

It was time for the main acts of the day, first came Opeth. I am a late convert and up until now only have ‘Pale Communion’ and still feel some of their older material may not be to my liking. But I have since ordered a couple of older CD’s to try and Lamentations DVD on the strength of their performance and what a show. The sun descended as the atmosphere grew, Michael Akerfeldt and the band striding the stage as giants of the prog metal genre, rousing the crowd who need little encouragement. With acknowledgement to the long faithful that the newer material has not always received favour, they pulled old favourites from their earlier albums to rapturous applause and drove them like giant machines crushing any doubters under the sound, loud and clear with the lighting matching the moods. It is well known Michael and Steven Wilson have become firm friends and you can catch elements of influence in the work, enhancing the massive production here.

Opeth 3

Revelation of the day was Konnie’s response, she has never taken interest in Opeth before and had neglected to listen on the occasions I have played ‘Pale Communion’, fearing they weren’t to her liking. By the end of the first song she was hooked, loving every minute, extolling the virtues of their live performance and on completion she was grinning like a kid at Christmas. Had they been the only head-liner, the day would have finished on a tremendous high. As it was, we were to be spoiled further…..

Opeth 4

We knew what to expect from Steven Wilson as we have seen him on his last three tours, but this did not lessen our excitement, merely settled us in the privy we bestowed upon our Spanish friends, eager to watch a man who verges on deity status in the genre and learn all they can about him. Mr Wilson has developed and perfected his style with such precision he holds all in his sway and has carefully honed his stage craft since we first saw him. Again I feel his friendship with Michael has influenced and benefited him especially in performing as he seems more at ease talking to and joking (yes, joking), with the crowd. His live sets are always louder these days, the tracks played are heavier and rockier than the album versions. We always pack our ear defenders, but that could be our age, yet he balances the delicate, ‘Lazarus/Routine’ finely, gently sprinkled like fairy dust on the sounds emanating from his current band.

Steven 1

All masters in their own fields, with none finer on the drums than Craig Blundell, as readily recognised by the work he has done as an international clinician for Paiste, Premier, and RolandAdam Holzman is a rare keyboardist, having moved from the jazz fusion field to his current position in the band, he consistently earns critical acclaim as one of the most daring and best contemporary keyboardists alive.

No one could have predicted back in the Kajagoogoo days that Nick  Beggs would go on to be such a luminary in Bass guitar and Chapman Stick, his mighty presence up front ably bookending Steve with current guitarist Dave Kilminster. Having spent the last few years as principal guitar player in the Roger Waters band, Dave brings his own, skillful style to the well renowned tracks and my only regret is that they didn’t play Drive Home, as I would like to have heard his take on the beautiful guitar solo.

steven 2

It’s a commanding show and a fitting end to a wonderful couple of days though the fuzzier lighting employed for the majority of the set prevented my getting many photos.

But not quite an end: it was by now 02:00, weariness took hold and with an early start the next morning we elected to leave with the majority and head for our hotel. Which leaves me to apologise to metalcore band Textures, who bravely came on after we left and played to a greatly reduced crowd, so I cannot comment on their performance.

It only remains to say ‘Gracias’ to the organisers of BPMF, everyone who helped make it possible the bands themselves and the Spanish people we met along the way. Watch for next year’s line up, take the leap, make the trip and revel in what Barcelona and Be Prog My Friend have to offer, you won’t be disappointed.

Adios, hasta pronto………